VARIATION ON AN INVISIBLE THEME for piano, No. 3

The Pimpleton Procrasturbation Ensemble performs AN UNGAINLY GAGGLE OF ALTOGETHERY GALOOTS by Gary Lloyd Noland (February 4th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

AN UNGAINLY GAGGLE OF ALTOGETHERY GALOOTS

FUGUE (for string quartet), Op. 13 (1978, revised 1989), by Gary Lloyd Noland was originally scored for string orchestra (which was once played by the strings of the Harvard-Radcliffe Orchestra under the baton of James Yannatos)and finalized in a version for string quartet. This is a MIDI harpsichord rendition of the work.

FUGUE, Op. 13

Composer/pianist Gary Lloyd Noland performs his SIX LURID ALBUMBLATTS for a broadcast on KPFA (Pacifica) Radio  in Berkeley, California (1992). The performance is extemporized from a set of six graphic scores.

Here's what I found listed:(Pacifica) 10. radiOM.org - Morning Concert Piano: No Hands [5.078% Popularity: 0.00000]
Morning Concert: Piano: No Hands Listen Item Type: Sound Recording Duration: 119 min Event Type: Interview and Music Program Origin: KPFA In a recording made in 1992, Charles Amirkhanian hosts a program featuring music played on the Disklavier, a sort of modern player piano. It is a devise that can be attached to a grand piano so as to enable it to record, playback, and even manipulate music played on its keys. In the first half of the program, Charles is joined in the studio by Gary Noland, who has composed a number of pieces for the Disklavier. In the second half of the program, Charles conducts an impromptu interview with Richard Dunn of the BBC in which they discuss the BBC's World Service and the implications of digital radio broadcasting. Part 1 of 2: Musical Selections: Study No. 3A / Conlon Nancarrow -- Six Lurid Albumblatts, for 1-1000 players in pictographic notation Op. 14 / Gary Noland -- Grande Rag Brillante, Op. 15 (1978-79, rev. 1989) / Gary Noland -- Étude No. 2, for piano (1985) / György Lige...

SIX LURID ALBUMBLATTS, Op. 14, KPFA (Pacifica) Radio Broadcast (1992)

The Pimpleton Procrasturbation Ensemble performs DIE FLEDERMAUS PSYCHO FLIP, Op. 142, No. 11, by Gary Lloyd Noland (1984, revised 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

DIE FLEDERMAUS PSYCHO FLIP, Op. 142, No. 11

The Pimpleton Procrasturbation Ensemble performs THE GREAT PACIFIC GARBAGE VORTEX TERRESTRIAL ANTHEM, Op. 142, No. 9 by Gary Lloyd Noland (March 5th, 2023). To read more about the composer, please visit his website at: garynolandcomposer.com

THE GREAT PACIFIC GARBAGE VORTEX TERRESTRIAL ANTHEM, Op. 142, No. 9

The Pimpleton Procrasturbation Ensemble performs A FLEETING KALEIDOSCOPIC PHANTASMAGORY ON THE OSTINATO FIGURE FROM LIGETI'S FANFARES ÉTUDE (NO. 4) by Gary Lloyd Noland (March 7th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

A FLEETING KALEIDOSCOPIC PHANTASMAGORY ON THE OSTINATO FIGURE FROM LIGETI'S FANFARES ÉTUDE NO. 4

The Pimpleton Procrasturbation Ensemble performs CONSTELLATION OF NERVOUS SPASMS, Op. 142, No. 7, by Gary Lloyd Noland (March 8th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

CONSTELLATION OF NERVOUS SPASMS, Op. 142, No. 7

Gary Lloyd Noland, Arnold Day Longly, Lon Gaylord Dylan, Dolly Gray Landon, Orlan Doy Glandly, and Darnold Olly Yang perform 53-FINGER ÉTUDE for piano, Op. 143, No. 2, by Gary Lloyd Noland (March 9th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

53-FINGER ÉTUDE for piano, Op. 143, No. 2

The Pimpleton Procrasturbation Ensemble performs AMORPHOUS MEMOROIDS by Gary Lloyd Noland (March 11th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

AMORPHOUS MEMOROIDS

The Pimpleton Procrasturbation Ensemble performs CRYBABY CRUSHERS, Op. 142, No. 1, by Gary Lloyd Noland (March 13th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

CRYBABY CRUSHERS, Op. 142, No. 1

Composer Gary Lloyd Noland performs his BYGONE FANCIES for piano, Op. 142, No. 2 (March 16th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

BYGONE FANCIES for piano, Op. 142, No. 2

The Pimpleton Procrasturbation Ensemble performs STURM UND DRANGULAR POINTS OF DISSENT, Op. 142, No. 3, by Gary Lloyd Noland (March 17th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

STURM UND DRANGULAR POINTS OF DISSENT, Op. 142, No. 3

The Pimpleton Procrasturbation Ensemble performs COCKROACH CORONATION SLOG, Op. 142, No. 6, by Gary Lloyd Noland (March 18th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

COCKROACH CORONATION SLOG, Op. 142, No. 6

The Pimpleton Procrasturbation Ensemble performs THE DEBONERIZATION OF AMERIKA by Gary Lloyd Noland, Op. 142, No. 4 (March 19th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

THE DEBONERIZATION OF AMERIKA, Op. 142, No. 4

The Pimpleton Procrasturbation Ensemble performs ANGELIC EFFLUVIATIONS, Op. 142, No. 12, by Gary Lloyd Noland (March 21st, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

ANGELIC EFFLUVIATIONS, Op. 142, No. 12

The Pimpleton Procrasturbation Ensemble performs THE ADVENTURES OF A PHILANDERING F CHORD by Gary Lloyd Noland (March 21st, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

THE ADVENTURES OF A PHILANDERING F CHORD

Composer Gary Lloyd Noland performs his VARIATION ON AN INVISIBLE THEME for piano, No. 1, Op. 142, No. 5 (March 22nd, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

VARIATION ON AN INVISIBLE THEME for piano, No. 1, Op. 142, No. 5

Composer Gary Lloyd Noland performs his VARIATION ON AN INVISIBLE THEME for piano, No. 2, Op. 142, No. 8 (March 25th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

VARIATION ON AN INVISIBLE THEME for piano, No. 2, Op. 142, No. 8

The Pimpleton Procrasturbation Ensemble performs BUT HE SEEMED LIKE SUCH A NICE YOUNG MAN… by Gary Lloyd Noland, Op. 143, No. 1 (March 27th, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

BUT HE SEEMED LIKE SUCH A NICE YOUNG MAN…

Composer Gary Lloyd Noland performs his VARIATION ON AN INVISIBLE THEME for piano, No. 3, Op. 142, No. 10 (March 31st, 2023). For more information on the composer, please visit his website at: garynolandcomposer.com

VARIATION ON AN INVISIBLE THEME for piano, No. 3, Op. 142, No. 10

Resides in Portland, Oregon. Grew up in Berkeley, CA. Born in Seattle.  PhD, Harvard. “Gary Noland is one of the great composers of the 21st century.”—JACK RUMMEL, KGNU 88.5 FM, Boulder CO, “...iconoclastic, stylistic potpourri standards of giddy humor, no holds barred soup to nuts and high spirits.”—ROBERT LEVIN, pianist, musicologist, composer, "...a fleet-fingered, ebullient performer ... bright, witty and engaging.”—CHRISTIAN CAREY, SPLENDID MAGAZINE, “...distinctive, inventive ... subversive ... You can hardly be indifferent to Noland’s music and so I would urge you to try it.” —ROGER BLACKBURN, MUSICWEB INTERNATIONAL, “...set in a dizzying harmonic language that loops uncontrollably through a wide-ranging gamut of possible and impossible tonalities ... The general effect is like watching wet paintings of 19th Century musical memorabilia drip into frazzled 21st Century oblivion...” —ALLEN GIMBEL, AMERICAN RECORD GUIDE, “Mr. Noland writes as a ‘time traveler’ in styles long abandoned by most composers as well as styles so new as to not have been imagined but by him. This he accomplishes naturally, convincingly, with originality and true passion. His command of all musical languages and his ability to traverse musical time is nothing less than remarkable. Listen!”—DONALD MARTINO, Pulitzer Prize winning composer, “...mind-bending spiraling of focus which is truly breathtaking ... spectacular...”—CHARLES AMIRKHANIAN, composer, sound poet & radio producer, “I'm amazed at your harmonic skill. Haven't seen or heard anything like it from any one else—except yours truly—certainly not from your generation. It falls somewhere between Strauss and Mahler. Especially like how you are able to slip in and out from the tonal to the atonal—or near atonal...”—GEORGE ROCHBERG, American composer, Pulitzer Prize finalist, “...court jester to the classical establishment...”—PAYTON MACDONALD, AMERICAN RECORD GUIDE, “...florid and juicy...” —RICHARD BUELL, THE BOSTON GLOBE, “...an incredible aural web ... a great ostinato of American kitsch. Sul pont never sounded so good.”—RUSSELL STEINBERG, composer, conductor of the LOS ANGELES YOUTH ORCHESTRA, “...I am bowled over by the expertise of your music: you use certain elements from the 19th century and from jazz, etc., and just at the moment when I am about to say, OK, what else is new?, you do a number of things, such as speeding up, becoming wildly dissonant, modulating to a distant continent, stopping completely and throwing some kind of total surprise ... you seem to know exactly when to do what and how much. I don’t know anybody else who can do it!” —ANDREW IMBRIE, American composer, Pulitzer Prize finalist, “... remarkable stuff...”
—MAX MORATH, American ragtime pianist, composer, actor & author, “...a loony composer from Oregon...” —MAX SHEA, WMUA 91.1FM, Amherst, MA, “Gary Noland is one of those 21st Century composers seeking to forge a new aesthetic based on older models that do not traffic in serialism or minimalism ... Zany waltzes, ragtime riffs, chorales, toccatas, and much else romp and tear through these depictions of superheroes and villains from his ‘chamber novels’; other pieces spoof serial music ... to grand operas ... and Jewish guilt.” —JACK SULLIVAN, AMERICAN RECORD GUIDE, “...Paranoid Ravel...”—ALEX DUNN, KZSU FM90.3, Stanford, CA, “...It’s a romantic romp, rhythmically robust yet melodically flirting with the nostalgia of cabaret, minus the sleazy diminution of spilled drinks and smelly ashtrays. Its elegance recalls Elgar, and the serious sides, a synthesis of those strange bedfellows Schubert and Ives. Composers hate it when their music reminds you of someone else’s, but writing within a tradition, Noland has incorporated divergent styles that, woven together, work. Cosmopolitan without snobbery, it’s intelligent, pleasurable and convincing.” —ROCKY LEPLIN, THE BERKELEY VOICE

VARIATION ON AN INVISIBLE THEME for piano, No. 3

Gary Lloyd Noland, composer